The Taste with Vir: Elizabeth Kerkar’s contributions to Taj Hotels created new school of Indian interior design – opinion

In the 1950S and the 1960s, the big American hotel companies looked as though they would take over the world. Such chains as Hilton (owned by the eponymous family and then by TWA), Intercontinental (owned by Pan Am) and a little later, Sheraton (owned by the multinational conglomerate ITT), opened in many of the world’s capitals.

Some of these hotels were not bad looking structures (though it later became fashionable to dismiss them as ugly skyscrapers) but it is fair to say that they had no sense of place about them. There may have been a few token nods to the city they were located in, but most days, if you suddenly woke up in a Hilton or an Intercontinental, it was hard to tell which city you were in.

That began to change a little from the 1970s onwards but it continues to be a problem for many global chains even today. They use the same service model, the same systems and often, the same architects and designers no matter where they build their hotels. So there is very little to distinguish one property from another. Nor is there much sense of art or aesthetics.

Indian hotels have always been different much to the bemusement of foreign chains. I have heard it said that when the Tatas did not know what to do with the Taj Mahal Hotel in the 1950s, they asked Hilton if the chain would run it. Hilton said it would. But the existing building was too awkward and had to be pulled down. A huge new skyscraper would be constructed in its place.

The Tatas said goodbye to Hilton and decided to run the Taj themselves. They were up against the Oberois, India’s leading hotel chain who had collaborated with Intercontinental in Delhi and were about to collaborate with Sheraton at a brand new hotel in Mumbai. It should have been a no-contest. But against the odds, largely thanks to the genius of JRD Tata and the team he entrusted the Indian Hotels company (which owned the Taj) to, the Taj brand grew from one Mumbai hotel to rival the Oberois as a national chain.

Though the Oberois worked with the great American chains, they retained an Indian sensibility. Such great Indian artists as Krishan Khanna and Satish Gujral created works of art specially for Oberoi hotels and Rai Bahadur MS Oberoi, who built the chain, was keen to imbue it with an air of Indian-ness.

At the Taj, JRD Tata and Ajit Kerkar, the man who turned the Taj into an all-India chain, worked to a similar brief. Their combined efforts helped create the Indian hotel industry: one reason why India is probably the only non-Western country where the top hotels in each city are still run by Indian companies and not by foreign chains.

At the Taj, at least, a key element of the planning of each hotel was the design. Kerkar had worked in London before he was headhunted by the Tatas

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